TFv03 CH 12 dead-end cats (annotated)
Annotations for dead-end cats from Honeysuckle & Pain. Page 311 Ne cadant in obscurum. Mozart - Requiem: Domine Jesu Christe Lord Jesus Christ, King of glory, liberate the souls of the faithful, departed from the pains of hell and from the bottomless pit. Deliver them from the lion's mouth, lest hell swallow them up, lest they fall into darkness. Let the standard-bearer, holy Michael, bring them into holy light. Which was promised to Abraham and his descendants. Page 312 خلي بالك من beware of your ??? lend a hand, right? – Be careful what you wish for, right? OR Maybe the XXXX could lend a hand, right? Page 314 ∴''' therefore '''∵ because Also a laser pointer from Predator (1987), a movie about an alient hunter''. Given the strong themes of hunting and predation, especially in Anwar's sections, this is hardly coincidental. It also evokes the Trifocal symbol from the ''Splinter Cellvideogames. Page 316 sipaapuni the holiest of Hopi religious shrines where, acording to Hopi mythology, the ancestors of Hopi as well as the rest of humankind emerged from third world (underworld) into this upper fourth world talhayingwti dawn, near dawn (in Hopi language) Delta Time ' Delta Time or Delta Timing is a concept used amongst programmers in relation to hardware and network responsiveness. In graphics programming, the term is usually used for variably updating scenery based on the elapsed time since the game last updated, (i.e. the previous "frame") which will vary depending on the speed of the computer, and how much work needs to be done in the game at any given time Page 321 '''Yuzu ' yuzu tree (275) Anwar killing the squirrel made Xanther see the living creatures around her? Page 322 '''Codeling cuddling + code Mantis means prophet it does, because of the praying ERROR because Narcons are having conversations Page 323 Uexkull see V1 178 – Xanther knows it because she knows the epigrams? Simpler VEM? Page 324 Youssef Chahine Egyptian film director Alexandria... Why? Set against the panoramic backdrop of war-torn Egypt, director Youssef Chahine tells a highly personal tale of love and determination. Amid the poverty, death and suffering caused by World War II, 18 year-old Yehia, retreats into a private world of fantasy and longing. Obsessed with Hollywood, he dreams of one day studying filmmaking in America, but after falling in love and discovering the lies of European occupation, Yehia profoundly reevaluates his identity and allegiances. Set in the Egypt during and after World War II, Youssef Chahine's autobiographical drama of his youth in Cairo is a bright, bustling mosaic of a country embroiled in conflict and struggling with its identity. Centered on the story of high school student Yehia Mourad (Mohsen Mohiedine), Chahine's cinematic alter ego, it's national history through a personal perspective and the first film autobiography ever in Egyptian cinema. As the strains of nationalism set Arabs against British soldiers, political factions against one another, and races and cultures at odds, Yehia escapes through theater and the movies, dreaming of Hollywood as he stages his own plays and theatrical reviews until he's swept up in student activism. No stranger to challenging conventions and taboos, Chahine features an interfaith romance between a Jewish woman and a Muslim activist and a homosexual relationship between Yehia's wealthy uncle and a young British soldier among his many stories. In fact, he packs the film so full that the colors threaten to bleed together, but Chahine masterfully keeps the film coherent and clear while driving it forward at a racing pace. The action at times abruptly jumps from one thread to another, as if matching Yehia's torn loyalties between art and political action, but the tonal shifts only add another layer of richness to the passion Chahine has lavished on this film. It won the Special Jury Prize at Berlin in 1979 (Chahine's first major festival prize), and was followed by two other autobiographical films, An Egyptian Story and Alexandria Again and Forever, which became known as the Alexandria Trilogy The Sin of Harold Diddlebock comedy film written and directed by Preston Sturges, starring the silent film comic icon Harold Lloyd Page 325 quality control reason why Vol 3 came out 8 months after Vol 2 instead of 6? Page 326 MOCA Museum of Contemporary Art Musical Group on a balcony link Looking down on us ''' like angels/narcons Page 327 '''She’s going to die ' screamed by tian li and heard by Astair in dream Page 328 '''Out-and-about' taking a stroll outside Tar pits The La Brea Tar Pits are a group of tar pits around which Hancock Park was formed in urban Los Angeles. Natural asphalt (also called asphaltum, bitumen, pitch or tar—brea in Spanish) has seeped up from the ground in this area for tens of thousands of years Page 331 Koons “Tulips” by Jeff Koons, a favorite artist of the philanthropists Eli and Edythe Broad, is among the works included in their museum's inaugural display Page 333 atlatl a stick used by Eskimos and early American Indians to propel a spear or dart Category:Annotations